Andries Botha Catalogue

ANDRIES
BOTHA
BEING HERE
(and there)

AN EXHIBITION PRESENTED BY

“Our song is violence, and we sing it beautifully
- I said that? I can’t believe I said that shit.”
- Andries Botha

CONTENTS
1
2
3
4
5
6
7
8
9
10
11
12
13
Introduction by Trent Read ......................................................................... 1
Being Here (and there) by Andries Botha ..................................................... 2
Genesis, Genesis, Jesus… ................................................................................ 4
Genesis, Genesis, Jesus… [Detail] ................................................................ 6
Embarkation ..................................................................................................... 8
Embarkation [Detail] ................................................................................... 10
Loxodanta Africana ........................................................................................... 12
Loxodanta Africana [Detail] .......................................................................... 14
Afrikaner Circa 2014 .................................................................................. 16
Afrikaner Circa 2014 [Detail] ....................................................................... 18
Just Being by Hazel Friedman .................................................................... 20
Cirriculum Vitae of Andries Botha ............................................................... 24
Special Thanks.......................................................................................... 28

INTRODUCTION
BY TRENT READ
Sculpture in South Africa has enjoyed somewhat of a renaissance in the last decade or so, with
arguably the finest and most thought provoking art made in the country being three-dimensional.
This certainly was not the case when I entered the field some forty years ago. The sculptors, on
the whole, were a fairly pedestrian bunch making saccharine bronzes of wildlife subjects, large
monuments to apartheid heroes or, amongst the more up to date, fairly sterile abstracted works
that had a “modern” air to them. We were in the midst of the cultural boycott and although works
by Elisabeth Frink, Lyn Chadwick and a few others were occasionally seen, sculpture was safe,
boring and above all European.
In my opinion two artists were largely responsible for the massive changes that occurred in the
early Eighties long before the ending of apartheid and our reacceptance as part of a larger art
community. The sculptors were Jane Alexander and Andries Botha and I well remember how
their work made everything else look somehow small and not very interesting. Jane was a
little younger than Andries and her output was tiny but Andries’ work was inescapable. He made
pieces that were radical in their mix of media and breath taking in their sly subversity (in a
society that was walled in by security laws and where censorship (and worse) were
commonplace). Above all he made works that were African in their choice of subject and use of
media and this was his greatest gift to this country and a huge inspiration to two generations of
students.
I believe this also led to a change of focus by collectors, both private and institutional. Like the
Dutch forefathers of many of them, South Africans tended to collect modest sized paintings
and drawings more appropriate in scale to an Amsterdam townhouse. This started to change in
the early nineties when mixed media sculpture and installations began cautiously to be bought
by a few of the more prescient buyers. This is wholly suited to our landscape and our complex
shared culture.
I think that this show amply illustrates my contention that Andries Botha is our preeminent
sculptor and I am proud to have been able to facilitate the exhibition at this lovely space at
Grande Provence.
The exhibition is extraordinary in that it is showing a major work from each decade including
one that has only been seen at documenta in Kassel in the 90’s and the works have never been
shown together anywhere.
1

BEING HERE (and there)
BY ANDRIES BOTHA
When I was young and wondering what it would be like not to be what everyone wanted me to be,
unpredictable thoughts became ideas, and then my life. The idea that took shape instantly, in
immediate and unpredictable circumstances, was that I imagined myself as a sculptor, when I did
not even know what sculpture was. I saw a picture of Michelangelo’s slaves lying on my friends
coffee table and asked “...what is this?”. “Sculpture, my mother loves this stuff“, he said. “I am
going to do that “, I said. So that’s the story of my art career; an illogical necessity that keeps
upsetting everyone, but me. Inbetween the what, the how and the why not, hovers a much longer
story, eventually leading me to 2016 and this exhibition with Trent Read.
I was in the familiar space of changing my mind, retreating from the public eye into my own private
space, when Trent showed up at my Durban studio. He saw some of my older work, which I was in
the process of cleaning and restoring, along with some new drawings and offered me a show. The
journey from the private into the public has always been scary. Exposing the intimate as a form of
public intent, subject to market force and critical commentary can become a perilous dance.
I confess I have always been wary of this, shying away from normal commercial gallery leylines.
Most of my major works were made as part of my own meditation on self within the frightening or
challenging South African space. I exhibited (mostly abroad) as part of larger group shows, then
crated and stored the (hidden again) work. Still not sure what all this means but I sort of understand
my life of creativity as a embodiment of this ambivalence or uncertainty. Making sculpture and then
not sure how or where to show it, or if I should at all...,creating the work and making more...
Now I have all this work which speaks of 40 years of sculpture making. And some other stuff, all
neatly stored away. Strange when you look at your life in this way and realise it’s peculiarity...
The works do speak for themselves and have their narratives secretly woven into them. Speaking
or analysing your intent flattens the work and destroys the subtlety and mystery of everything. This
is the viewers work. Upon reflection, I return to similar concerns and merely express them
differently. I soon learnt that material and mode of construction was as important as the ideas that
were being explored. I try to locate the human(ity) within the visceral, social and cultural spectacle.
The complex South African context unashamedly frames the universal human experience. Mine as
well. It is difficult to imagine expressing myself in any other way.
I am going to show 4 major works that frame a history of art making, a sort of love affair in a time
line, if you wish. In addition there will be about 10 large digital prints and 3 multi media Marquette’s,
or three dimensional drawings.
I am pleased to be back in the private contemplative space. Yes, I am hesitant to be journeying into
the public again, but happy I am doing it with Trent. So I come into another circle/cycle.
Interesting how life is...
2

3

4
Genesis, Genesis, Jesus…
leadwood, thatching grass, metal
L 270 x W 123 x H 200 cm
1989

5

6
Genesis, Genesis, Jesus…
[Detail]

7

8

Embarkation
polypropylene rope, wattle wood, galvanized sheeting,
plastic sheeting, canvas, stainless steel mesh, mild steel,
found objects, resin, lead
L 700 x B 350 x H 180 cm
1995
9

10
Embarkation [Detail]

11

12

Loxodanta Africana
polyester resin
L 150 x W 380 x H 105 cm
2011
13

Loxodanta Africana [Detail]
14

15

16

Afrikaner Circa 2014
acrylic on canvas, landscape in the manner of
Pierneef; material one; mild steel; 3D printed
figure in supawood; artificial landscape turf
Variable dimensions
2014
17

18
Afrikaner Circa 2014 [Detail]

19

JUST BEING
BY HAZEL FRIEDMAN
‘The only way to deal with an unfree world is to become so absolutely free that your very
existence is an act of rebellion’. - Albert Camus ‘The Stranger’ (1942)
There’s a scene in the movie ‘Being There’ where USA President ‘Bobby’ asks Chauncey
Gardner (Chance the Gardener) his prognosis for economic growth. ‘As long as the roots are not severed,
all will be well in the garden’, is the reply by a presidential candidate whose mind has been engineered to
respond in simplistic homilies snugly blanketed in bucolic adjectives.
You might ask what a movie about a simple, sheltered gardener who becomes an insider in Washington
politics has to do with an artist whose profundity of vision represents the very antithesis of shallow
sound-bites and abbreviated attention-spans?
Yet ‘Being Here (and there)’, the title of Andries Botha’s first exhibition on South African soil in many years
does remind me of the universal wisdom of simplicity, of being in the moment and of revisiting roots that
might have been dug up, replanted, rerouted but never fully severed. ‘Being There (or there)’ is about the
parody and deconstruction of engineered personal and public narratives.
Botha’s work is paradoxically ‘rooted’ in a sense of dislocation and non-belonging. In his artists’
statement for ‘Being Here (or there)’ he describes producing most of his major works ‘as part of my own
meditation on self within the frightening, or challenging South African space’. He also speaks openly about
the ambivalence he feels between embracing the international success of his career and an essentially
solitary creative quest: withdrawal from the public pantheon in order to nurture ‘an internal space’. Both
activist and archivist, Botha has produced sculptural installations that stand tall among the greatest
contemporary South African public art produced during and after apartheid. This public art has evolved
from a profoundly personal, ongoing struggle that has served as a recurring refrain in his life and art.
Although located in the specifics of time and place, it transcends both states, becoming ‘a part of’ yet
remaining ‘apart from’.
There is a harmonius ebb and flow to the artist’s conversation. Eloquent and elegant, his sentences are
layered, intricately structured and interwoven with metaphor and meaning, much like the monumental
sculptural installations that mark four decades of a stellar career, replete with prestigious individual artistic
awards, major public commissions, ongoing community projects and international showings; not to
mention political controversy. But underpinning Botha’s prodigious oeuvre is a disarming simplicity and
almost self-deprecatory humility. Despite his global success, he has remained surprisingly free of the
hustle and hype that often sticks to the coattails of celebrity, like dust on velcro.
For ‘Being Here (or there)’, gallerist and exhibition curator, Trent Read has selected four major installations
that serve as indeces to the four decades of his extraordinary output. Botha describes his collaboration
with Read as an ‘incredible synergy’. The works have never been seen together, and one of them has only
ever been seen at Documenta in Kassel in the 90’s. They include ‘Genesis, Genesis Jesus’ (1989),
‘Embarkation’ (1995), ‘Afrikaner Circa 2014’ and ‘Loxodonta Africana’ (2015). Also included in this seminal
show are 10 large digital prints and 4 multi media drawings, mapping some of the dominant terrain
traversed by Botha over the last four decades.
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Revisiting these fruits of a labour-intensive career located in the literal materiality of the South African
landscape must constitute an exhilarating rediscovery for Botha. From the prism of time and distance they
offer fresh insights and revelations, while re-affirming the artist’s ongoing themes. “I have always
interrogated public space around presence and absence of monumentality,” he explains, ‘and how we go
about rewriting an engineered narrative. “In many respects these works represent a continuum of recurring
concerns, merely expressed differently”.
Botha cautions against over-analysis of artistic intention. The work must speak on multiple layers, both
patent and subliminal, intellectually and intuitively. The multivalent layers of his art that they speak, not only
to, but also about the past four decades. They continue to resonate in a world that has become
increasingly atomised, fractured and digitally arcane. It is impossible to adequately encapsulate the breadth
and depth of Botha’s creative journey in a single essay. To describe his personal quest as a search for
authenticity and identity through the thicket of ideological fictions goes some of the way towards attaining a
neat, albeit simplistic, definition. But even though the struggles with the contradictions of his own heritage
– raised as a white Afrikaans male during apartheid – form the most obvious bookends of his works. Botha’s
creative trajectory is far more subtle and fluid.
He recalls being shaken out of his prescribed ‘Afrikaner identity’ by the discourse of young black activists,
and being awoken to the imperatives of interrogating an ‘engineered’ narrative not merely around the
justifications for political disenfranchisement but about ‘the destruction of humanity itself’. Although tutored
in the ‘mimicry of a Eurocentric modernity’ Botha also began to rebel against the art-from-the-west-is-best
mindset, with its emphasis on a ‘fine-art’ hierarchy and gallery system. Apartheid ethnocentrism had
undermined the aesthetic value of indigenous South African cultural production and artifacts. During the
political upheavals of the mid 1980s, the ideological glue that had bound this form of cultural snobbery was
starting to come unstuck. It was principally artists like Botha, who wholeheartedly embraced the traditional
weaving techniques and materials from the midlands of KwaZulu-Natal, where he was raised, that South
African traditions of craft-art, who practiced predominantly in rural areas, became legitimised – albeit
belatedly - by the mainstream South African art world.
Disruptive and distorted power relations between Eurocentric and African paradigms are dramatically
articulated in Genesis, Genesis Jesus (1989), which can be read as much in terms of spiritual conflict as
it does about the interface between material, mythology and metaphysics. A prostrate, Promethean-type
form is stacked and packed from leadwood - a protected deciduous South African tree. It provides a plinth
for the acrobat/dancer possessed of the grace of a Degas or Rodin sculpture. Yet this form is constructed
not from the ‘classical’ materials of the European sculptor, but rather from the craft-intensive traditional
Zulu grass weaving techniques. In this work brute force and beauty coalesce in a precarious pas de deux.
Both material and metaphor make powerful references to bodies, land and the historical contestation
thereof – a conflict that continues well into the 22nd year of post-apartheid South Africa and feeding into
current debates around transformation and other combustible discourses.
Executed at the cusp of a new era in South African history it is impossible to avoid a political reading of
Botha’s work during the late 1980s and early- mid 1990s. But this becomes a rather glib observation in
relation works like ‘Embarkation’ (1995) – one of Botha’s works that while emblematic of an era, defies neat
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categorisation. As the artist explains on his website ‘Embarkation’ is ‘a sculptural fragment‘ of a 6-piece
installation entitled What is a Home. Using symbolicall ycharged materials, such as wood from ’alien’ trees,
galvanised zinc and plastic sheeting – referencing the materials of informal settlements - canvas, tyres,
telephone wire and found objects, the work is much more than a meshing of Western and African culture.
It explores the trajectory of identity and diaspora, both in the contexts of personal memory, politics and
cultural currency. Indeed, the bipolar states of local versus international have complicated the production,
display and consumption of art, particularly of a democracy that, at 22 years-old, is still, relatively, the
ingénue at the global art ball. ‘Embarkation’ is about the perennial outsider. The converse is also suggested
through the narrow spaces between Botha’s physical forms and the physical topography they evoke; that
there is often an inextricable sense of ‘belonging’ between self and land. It is a bond that has been used
to justify the most violent contestations of ownership. Yet ‘Embarkation’ ultimately denotes a state of
departure, arrival and transit. It also suggests that art, like self-identity and cultural identification, is always
on a threshold, shifting from stasis to passage, and vice versa.
‘Afrikaner Circa 2014’ is the third of the four installations that as Botha explains ‘frame a history of
making, a sort of love affair in a time line’. In this work, as with the others there is an intricate interweaving
of social, spiritual, cultural and historical representations. It is also in this work that one can
choose to focus on Botha’s documentary and conceptual strategies that are informed as much by language
and political theory as by aesthetic discourse. The date that marks the genesis of the ANC -1912 - is also
the date that a new breed of cattle came to the attention of South African farmers: the Afrikaner. Although
it had been around for about 2000 years and was widely used by the ‘Hottentots’ in the era of Jan Van
Riebeeck, this breed, like the Volk after who it has been named, was nearly exterminated in the Boer War.
The Afrikaner cattle – that ‘pure bred’, yet inbred, prized, hybridized beast that has now been located or
dated as ‘circa’ - as a ‘historical’ – possibly extinct - phenomenon, identified principally by an indeterminate
date of origin, much like a fossil or fragment of bone excavated from an archaeological site. Perched
in the background of the installation is a framed landscape by Pierneef, appropriated by Botha to critique
the fiction of South African nationalism that represented the landscape as an unpopulated paradise to be
conquered and civilised by whites. In these works Botha’s parody and subversion of language is integral to
the narrative of the work. The Afrikaner metaphor also alludes to masculinity, hides, skins and, of course, in
traditional husbandry and African culture, to currency and wealth. It is as though the material has memory,
like muscle. As such, the work is as much about the mediation of human agency in the valuation of objects
within a matrix of socio-political structures as it is about the flux of histories, cultures and identities.
There is however also a profoundly intimate subtext to ‘Afrikaner Circa 2014’ that relates directly to an
earlier work executed in 2006 called ‘Afrikaander Circa 1600.’ As Botha himself explains of the former
installation: “In many respects, it signifies the closure of a ‘tender conversation’ between myself and my
father that was first articulated in ‘Afrikaander circa 1600’.” This conversation between father and son
revolved around the ongoing, painful struggle Botha has expressed about the Dutch-Afrikaner identity - the
distorted colonial embodiment of masculinity and patriarchy - imposed upon him and generations of South
Africans. Both installations are comprised of materials and archetypal imagery associated with domesticity,
agriculture, anthropology and archaeology. Each exudes a sense of containment – the focus of the earlier
work is literally a container - while in ‘Afrikaner circa 2014’ the Ram is caged in a coop whose diameters
conform to the classical measurements used to cordon off archaeological sites.
The excavation metaphor is redolent with association, alluding to digging up or unearthing hidden
histories and exposing which ‘lies’ are buried beneath the surface. It speaks of fracture, erasure and
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historical trauma that are as much of the individual psyche as they are the consequence of collective,
cultural misrepresentations.
At the risk of providing an overly manicured trajectory of Botha’s 40-year oeuvre it is evident that one of his
increasingly visible and volatile concerns revolve around using art as a means of challenging and exploring
alternate models of survival in shifting, interdependent environments.
“I’ve been creating metaphors that frame human experience in the landscape, so it was inevitable that my
art would embrace the ecological meta-narrative that informs and will determine the survival of our planet”,
he explains of his many collaborative sculptures and themes revolving around conservation. Fittingly, the
fourth major work in ‘Being Here (or there)’ is ‘Loxodonta Africana’ (2015). Translated from Latin as
Savannah Elephant, it represents an archetypal symbol of power; its Zulu name is Ndlovu, meaning ‘chief’.
It also symbolises collective unconscious and the unspoken conversation between humanity and the
natural ewwecology. This symbol has also been crudely appropriated by power-mongers and king-makers
to engineer their own narratives of political hegemony. In Botha’s lexicon it patently and poignantly references
Renaissance painter Andrea Mantegna’s depiction of the martyrdom of Saint Sebastian - the 15th century
saint, known as the ‘protector of plagues. His death unleashed a devastating epidemic that almost
decimated Europe. Botha’s analogy is chilling. The wounded elephant is emblematic of an endangered
planet’ – a state of being that, as Botha’s friend and mentor, the late Ian Player warned, was entering into
the collective sub-conscious.
‘We are at the point in our history where the very best of our reason has placed us at the greatest risk of
destroying ourselves and our habitat’. He warns: ‘This is the time to explore different modalities that
mediate the dance between head and heart.’
The real powers that shape the conditions under which we all act these days flow in global space. They
determine the commercial traffic between conservation and culture; not to mention their co-option.
At the time of conceptualizing this essay, South Africa again encapsulates the contradictions that beset
the planet in the terrain of ecology, education, economics, heritage, ideology and psychology. Bodies, land
and power still remain contested terrains of transformation. Small men with oversized egos preen on public
podiums, intent on re-engineering new artifacts and fictions of power; the roots thereof are often banal but
their implementation brutal and narcissistic. We have attended the self-congratulatory conferences; we
have read the noble legislation, gaping at the abyss between intention and implementation. And we have
watched the mind-numbing reruns of the miniseries with their revolving door of characters. Like the people
populating the inchoate world of Chauncey Gardner in ‘Being There’, the script and sound-bites, like the
collective attention-span, simply get shallower.
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CURRICULUM VITAE
OF ANDRIES BOTHA
Exhibitions
2015
2014
2012
2011
2010
2009
2008
Donated the permanent exhibition of a life size elephant sculpture to the
Shobiyana Secondary School as part of a creative project: “Skills of Our
Children”, Acornhoek, Mpumalanga, South Africa.
Participated in Robert Rauschenberg Foundation Residency, Florida, USA.
“100”, Centenary Exhibition, Everard Read Gallery, South Africa,
14 November 2013-31.
January 2014. Artwork: “Afrikaner circa 2014”, Acrylic on canvas, landscap in
the manner of Pierneef; Material One; mild steel; 3D printed figure in
Supawood; artificial landscape turf.
Museum Beelden aan Zee, Den Haag, Netherlands, “The Rainbow Nation”, from
29 May to 9 September 2012 on the Lange Voorhout and from 8 June to
30 September 2012 in Beelden aan Zee Museum.
Circa on Jellicoe, Rosebank, Johannesburg, South Africa, one-man exhibition,
“(IN)SOMNIUM)”.
Group Exhibition: “The Horse”, Everard Read Gallery, Johannesburg “2011
Incheon Women Artists’ Biennale” – South Korea, Amazwi Abesi
fazane project.
Woordfees Artist, One man exhibition, Stellenbosch, South Africa.
North American tour of Nomkhubulwane (elephant sculpture) including Chicago,
Fayetteville, Bozeman, El Paso, Detroit – USA and Juarez and
Cuernavaca in Mexico.
La Papalote Museum, Mexico City, Mexico.
Wild9 – 9th World Wilderness Congress, Merida, Mexico.
Animal-Anima, Provence, France.
South Gallery, Cape Town, South Africa.
KZNSA Gallery, Durban South Africa.
Strydom Gallery, George, South Africa.
Beauty and Pleasure, Stenersen Museum, Oslo, Norway.
Faculty Exhibition, KZNSA Gallery, Durban, South Africa.
Workshop/Exhibition, Samata Lok Santhan, Gwalior, India.
Travesia, Las Palmas de Gran Canaria.
l’Homme est un Mystère #3, St. Brieuc, Côtes d’Armor, France.
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2007/9
2007
2006
2005
2004
2003
2002
2001
2000
1999
You can buy my heart and my soul, Royal Museum for Central Africa, Tervuren,
Belgium, October 2007 to June 2009.
You can buy my heart and my soul, Antwerp, Belgium.
2006 Beaufort, Sculpture Triennale, De Panne and Ostend, Belgium
Amazwi Abesifazane, William Benton Gallery, University of Connecticut, USA
Africa Remix, Museum Kunst Palast, Düsseldorf, Germany
Amazwi Abesifazane, Betty Rymer Gallery, School of the Art
Institute of Chicago, Chicago, Illinois, USA
Amazwi Abesifazane, Culturgest, Lisbon, Portugal
Attese: Biennale of Ceramics in Contemporary Art, Albisola, Italy
Amazwi Abesifazane, Africa Studie Sentrum, Leiden, The Netherlands
Amazwi Abesifazane, Imagine IC, Amsterdam, The Netherlands
Vidarte 2002, Mexico City, Mexico
Global Priorities, New York, USA
Outpost II, US Art Gallery, Stellenbosch, South Africa
Amazwi Abesifazane, Prince Claus Fund, The Hague, The Netherlands,
Freehouse Project, Rotterdam, Netherlands
Nature, Utopia and Realities: Orsorio, Grand Canarias
Memorias: Santander, Spain
Amazwi Abesifazane, World Conference Against Racism, South Africa
Amazwi Abesifazane, Durban Art Gallery, South Africa
Area 2000: Reykjavik Art Museum, Iceland
L’Afrique a Jour: Lille, France
Bonnefanten Museum, Maastricht, Holland
Dakart 2000 Biennale, Senegal, Africa
Amazwi Abesifazane – Voices of Women, African Art Center, South Africa
Galerie Paul Andriesse, Amsterdam
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1998
1997
1996
1995
1994
1993
Kasselkunstverrein: Kassel, Germany
Kulturtogbet Solvberget,Stavanger, Norway
Four Seasons – National Architectural Institute, Rotterdam
Johannesburg Biennale, South Africa
Samtidskunst: Fra Sor Afrika, Oslo, Norway
The Other Journey: Africa and the Diaspora, Kunsthalle Krems, Vienna
Containers Across the Ocean, Copenhagen
Cris Fertiles Unesco, Abidjan
Cris Fertiles Unesco, Cotonou
Transitions: Bath Festival – United Kingdom
South African Contemporary Art, Paris, France
Southern Cross – Stedelijke Museum, Amsterdam, Netherlands
Venice Biennale, Italy
Honours
2003/4
2000
1998
1994
1992
Consultant to the Department of Arts of Culture, Nkosi Luthuli Memorial,
Kwa-Dukuza.
Playground and Toys, United Nations, New York
One of 12 International artists invited by Holland Foundation to work on Ujama iv
project in Maputo, Mozambique
Civitella Raneiri Fellowship, Italy
U.S. Information Service Fellowship – University of Indiana, USA National Vita
Art Award, South Africa
Public Commissions
2015
2013/16
2011
Completed Three (Four) elephant sculptural installation, City of Durban,
KwaZulu-Natal, South Africa.
State Commission for six 2m tall bronze figures.
Sculptural installation of Rev John Dube for Dube Tradeport in Durban,
South Africa
26

2009
2008
2006
2004/6
2004/9
2003
2001
2000
1999
1997
1996
1993
1992
Started the halted Three Elephant sculptural installation, City of Durban,
KwaZulu-Natal, South Africa
King Shaka Sculptural Installation, King Shaka Airport, Durban,
KwaZulu-Natal, South Africa.
“Lux Themba”, Family Memorial, Amsterdam, Netherlands
Award design and manufacture: 27th Durban International Film Festival.
Ohlange Memorial Park – ANC Memorial, Durban, KwaZulu-Natal,
South Africa – 5 larger-than-life bronze figures.
Gandhi Foundation Awards.
Shembe Memorial, Durban, KwaZulu-Natal, South Africa.
Sculpture Commission, Vodacom, Cape Town, South Africa.
Rijksakedemie Voor Volkenkunde, Leiden, Holland.
Sculpture Commission, M.T.N., Johannesburg, South Africa.
Sculpture Commission, Hilton Hotel, Durban, South Africa.
Sculpture Commission, Durban Girl’s College, South Africa.
Sculpture Commission, Standard Bank, Johannesburg, South Africa.
Sculpture Commission, Johannesburg Art Gallery, South Africa.
Teaching Experience
1982 -
2014
Senior Lecturer, Sculpture, Durban University of Technology, Durban,
South Africa.
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SPECIAL THANKS
We wish to acknowledge the following individuals’ contributions to this catalogue:
Karla Benade,
Zandré October,
Jessica Botness,
Janine Zagel,
Theresa Kaati,
Philip Heijnen,
Wentzel Combrinck.
Photography by Sean Laurenz.
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